Editing Foggy Forests in Photoshop | Toma Bonciu | Skillshare

Editing Foggy Forests in Photoshop

Toma Bonciu, Landscape and Travel Photographer

Editing Foggy Forests in Photoshop

Toma Bonciu, Landscape and Travel Photographer

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4 Lessons (1h 6m)
    • 1. Intro Skillshare

      2:12
    • 2. 02 Crossing between worlds

      29:53
    • 3. 03 Dreams of Light

      16:32
    • 4. 04 The Yellow Guardian

      17:37
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About This Class

The “Dreamy Forest Processing” video features 3 of my best foggy forests photos that I edit using my signature editing style and my own techniques.

During this course you’ll learn the following techniques:
– dodge and burn using my technique
– drawing attention to the subject by changing luminosity and color of different areas of the photo
– enhancing the colors of the trees using selective masks
– advanced masking for color and shadows
– advanced workflow using Layers, Masks and Adjustment Layers in Photoshop
– establish a mood in the photo that communicates a message
– you’ll learn how to plan your edits and how to think about the desired result

Here are the resulted images:

Before

3e9b298f

After

f05cebfc

Before

9e8298c4

After

e19db174



Before

1e42c330

After

df45c02c

Meet Your Teacher

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Toma Bonciu

Landscape and Travel Photographer

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Transcripts

1. Intro Skillshare: Hello and thank you so much for deciding to take this course that I called Dreams of the forest. This course contains three of my four G forest photos, and during this course you will learn Teoh alter the feeling off the image to emphasize the point of focus, to dodge and burn my style in my own way to change Carter to do advance selections on the shadows or different areas of the photo to control the saturation off different areas, to change the hue or off on lee some of the leaves and to create that fairy tale atmosphere . Did you see in my fully forest fellows now, the thing that I want you to understand most from this course is the way I'm thinking about my editing. Just pay very close attention to my explanations. Don't skip tutorials. Don't skip inside editorial because I'm constantly tell you different different thoughts that I'm having. And I'm explaining the reasons for which I'm doing what I'm doing now. At the end of this course, you will know how to edit your foggy forests and beside just three videos, you will also receive three fires that are my role files You also are going to receive three PSD files, which are the fellowship files. They're not full sized, but there are full aged the S 0 2000 pixels wide. I think there are more than enough. Teoh followed. The head is the size would have been too large with a full size PSD file. But I think it's it's more than enough for you to understand how I'm processing my folky forests and how I'm thinking about added things in general. Things are then for purchasing this course, and I wish you good luck and let's get started with tutorials. 2. 02 Crossing between worlds: Let's start the editing course with this image, which is called Crossing between Worlds. And after the way I'm going to added this image, you're going to realize why I'm calling this image crossing between worlds now the reason for which I teach this fed, um is this tree over here? I realized, how is position between these two other trees? And I also like the light that it's coming from the left as settings. I'm using F 11. I saw 150 millimeter and 10th of a second. Now, as general settings, these are normal F 11 nights. A 100 I use Ah, you the 50 minute middle lens for this to have a little bit of compression. I didn't want that wide lands the fact that you have very often in some of the landscape feathers. So I wanted Teoh flatten the perspective the perspective a little bit. Now, before I start editing, I just want to talk briefly about what I'm doing and then when I'm moving Teoh for the shop , this is the camera roll plug in. So when I move you to photo shop, I would also like Teoh talk some more and maybe draw other. That's catch on top of the federal of how I want to add it. But the main idea is to bring some more life from this side and emphasize this tree a lot more. To want to have a much a powerful are much more powerful image. Now, I also get rid of some elements these one off here leads, and this I just I don't think they are necessary to the photo. And they were would hinge with damage. The final result. Because the post processing of this federal it's more towards on artistic one. So the first thing that I'm gonna do is come here to Lance Correction and remove chromatic aberration, a neighbor profile correction. Now this is very useful. Sometimes the chromatic aberration, also known as fringes, appear on these edges. Let's take look a hung percent this photo. So I'm holding down the space bar on my keyboards who have this little hand on the screen and then just use the most left button to click and drag because you can see the images sharp. It's no problem with that, um, and so the fringes usually appear in this area where you have very high contrast of dark area and then comes with bright here, and it's much more visible in winter. Situations now is again. See, we don't have any more problems were removed. Dramatic aberration. But if you see some more problems, you can go to manual. And depending on the color that you're seeing on those edges, you can just pull these sliders and adjusted manually. Now let's move again. Teoh fit in view, and we're going to take a look at the history. Graham. This is the way I'm thinking about editing an image and lights from I usually do most of my working photo shop, but because in light room or in camera Oh, I post process that role file, which has a lot of information. I think it's very useful to print to use this moment to better prepare your fellow. Now you can go a step further in light, more camera or and do more of the editing here, but I prefer the control that further shop office eso. What I'm doing in camera is too prepare the image. So for that I will. Over the exposure is against you. I'm moving the history Graham to my lab, and I'm also dropping down the contrast off the the overall limit, pushing, pushing up some of the shadows. And I'm taking some of the highlights down now. Yes, the the image becomes flat and it has no contrast. It has no on, no, no bite to it. It's just a plain old image. It's nothing interesting, but I want to have this thing much room to my right and my left to add the Contras that I wanted to include the light that I want. So for terrorist this is more than enough, so I will just open the image by now in photo shop. OK, I will hit half of my keyboard. Teoh have the full screen one and controlled zero to fifth the image in the frame. Now let's just create an empty layer over here. Hit be for brush. For the moment, I will have a brush with hung puts and hardness and also opacity. Home percent flow 100% smoothing to zero because I just want you talk a little bit about what I'm going to do. I think this is the most important step that you should consider wondering, editing So, um, the the the element of focus will be this three over here. Now, What I want now when I will do, is to have these trunked trees shadows. I want to have them, you know, a bit more darker tones. And then I will have some Larmore light coming from this direction on, and I will also emphasize a little bit this trail and also had a little bit off read to these to these areas. How the way I'm going to emphasize the tree is, too. I had a little bit off lies on them on also want to increase the contrast and saturation and the brightness off the leaves. So this is going to be my way off, creating a much more interesting and much more appealing image. Now let's just delete this layer, click and drag it over the trash can. So the first thing that I'm going to do to duplicate this letter whenever I have to clone elements I like to duplicate layer. It's not completely necessary in this situation, but it's a good habit. It's not necessary because this is a very easy clothes or nothing can go. But click on this layer control J and now control one to go home percent. And let's just use the spot healing brush tool. And with this, we just thrall and the photo shop does its magic and removes those, uh, those items. Okay, now let's evaluate the scene. Do we have enough light? Especially on on the tree over here? Well, not really. So let's introduce an adjustment layer off brightness and contrast. Let's just take the brightness, something entirely new job. But if you want to be sure that you're not getting areas where blown up, um, exposures, we need to have a way to see this. So we'll go into window and quick on history. Now I have the history like this when you see it first. It it doesn't look like this. So you need to click on this icon here. First click on all channel views and then show channels in college. It is very important to have this because sometimes the great representation of the history Graham, which is an average off old channels can look under exposed, can look that can it can show you that you don't have any problems in terms of exposure, but if you look at the Red Channel you make, you may have in a no very exposed channel. So this is happening, For example, during sunrise or sunset. If you're photographing leaves like this, you may have the Red Channel over exposing again just before sunrise in just after sun a sunset The blue Channel is rise, so you may have on overexposing in Blue Channel. So you need to pay close attention, Teoh old. So let's just go on zero and let's increase the the brightness now is gonna see because I prepared the Fed. Have a lot of room so I can go up to, let's say around here. And let's also set the overall contrast just for now. Okay, no less close his to clamp. This is the overall brightens off the image. It's not something that will be here at the end of the of the of the editing. Now what we need to do. Cities establish a place from where the the rays of the sun will and turn to fed him. And for that, I will go control are okay or from view rule lives and you just get on top of the ruler and drag a line of this like this down. Now I'm going to be able to move this line. You have to have the move to selected or shortcut V and I will also drag one from here. And I have this intersection from where the sun from where the stand should be somewhere, Let's say, uh, somewhere around here, okay, and you'll see this is very important to have a little bit of consistency. We'll get rid of this after we finished. If you don't get rid of these guidelines, they will be in your feather. So now that we've added this letter that added privates of the entire in, Mitchell is just had another brightness and contrast and take the privates old way down and increase the contrast. Now the images really talk. But what I what I'm aiming here is to This is my own way of doing, dodging, burning. And in a way, it's a replicate off the process off developing the federal in the dark room where it started dark and that the image made it to live. So let's just it be on the keyboard and have to brush selected and now right click with that brush and take the hardness all the way to zero. Now the capacity of the brush. I will change it by pressing on the keyboard. Now I will use I would press one for 10%. If you press zero, it's home percent. If you press 05 it goes to 5%. Press one. I really like working with capacities that are really low. I would like to add, um, to change the photo slowly. Now let's increase the, um size of the brush. You do this by using left and right brackets. So right now what I'm going to do, You see this layer of brightness and concert that I've added now because it has a white mask, it has hung percent effect. Now I will add some darkness or black in this mask, making visible the lead underneath and so creating the effect off life. Let's click on the mask now, the first thing that you have to do. But this is kind of like the size of the brush. So the first thing that you have to do is to click here, make one click here and then hold on, shift now and click here now you don't You don't release the shift key. You just go back. You keep the sheet, the shift key pressed and you just go with it. The left click mouse and you create this, um, feeling off light coming from that area and flooding the entire emotional. Let's go further. But you see that because I'm going with only 10% I can emphasised more certain areas and it creates different values off light. Okay, now we have the general look, there's just press and fee and have the move toe and drag this on top of the rulers and get rid of them. Control are to have them disappear. Let's go control Plus, to see the image a little bigger. So now we will go with brush again and with a pass ity off 5%. And we'll just continue to, um, and 100 of brightness in these areas. Terry and also owned this trail over here. Now, on this trail, it's visible, but I will work on the edges and have the area blending in now. The difference between areas when using this technique should not be extreme. If you go to the extreme, the eye off the viewer will sense that something's off. Something doesn't look OK, so it's not a pleasant result. You need to have the others blending and Teoh can evaluate this. I found out if you go controlled minus and you have felt really, really small, you kind of see the address a lot better for the simply have presently you see here and here we have two areas separated by a doctor area. So we need Teoh Go him fixed that it's very useful when you're looking like this to see the separation between areas, you don't need to have that. It leaks. It looks bad. It doesn't look interesting. Okay, I can. Well, he'll have a little of darkness if your lenses don't produce. If you don't. If they don't produce vignette, you spend a lot of money not having lenses with no vignette that it's best not to create one in the post processing Let's take a look. Controlled, minus again. Starting to look. Okay, Now what I want to do is hit acts. Look over here. What's happening? Acts and change the car. Now I'm painting with white against I'm bringing back of the darkness of this layer Why? Why? I would like to do this because I want you. Let's change the brush. Someone here. I want to add a little bit off, um, doctors and contrast to the to the tree. So, um, brushed someone like this. So I'm adding and omitting darkness in this part because over here, So over here there is light, as you can see. So I'm just emphasizing what is already there. I'm emphasizing the darkness and the shadows. Now, that's also the reason for which I'm using 5%. Because if you go too much again, it's going to be visible again. It's gonna look, um, forced. Oh, King, There's just I had some darkness to this trio here. Also, this one, the dark trunks will, how creating elements like evidence off stop home is that will control the eye off the viewer. Okay, just going a bit over here. So you see how much that image changed just by having these trunks that are darker? Because right now I can use them as guardians. You have this, um, his three between between these two areas. Okay, so right now, let's add our first curves adjustment layer of curves and uh, the brighter areas I like the way they are. So I just want to place a point over here, and then they're not appoint over here in this area. Let's drag this one, Tom a little bit. So right now, yes. The things are starting to come alive and the images coming a lot. Now, what I wanted to is emphasized the tree a lot more. So I'm adding another brightness. Who? Any increasing the brother. But I'm also opening the hissed a gram again. I don't want to have this era's very tricky. And I had to keep it, um, exposed properly. Either one haven't been in that area. Overexposed. Okay, so I'm increasing the contrast by now. Yes, I think that this is it. And now I'm adding another brightness and contrast. And even though I'm I'm for now, I'm adding brightness entire image. I'm concentrating in this area. So somewhere around here and any more contrast Okay, let's close the history. And now with the mask selected off this last practicing constructs hit control I on the keyboard. So I'm in verse in the mask. I'm making it black so it doesn't have any effect now. with the brush and the white college and a pastie of 5%. I want a bigger brush for this. I will simply I had some warning light to these areas. If you feel that 5% to 2 low go with 10%. Okay, so I'm adding live over here when I'm editing, because these addicts who use a lot off contrast and brightness and so on, check the image with control 100%. If you see at any point that the image starts to have banned ing's, for example, in this area, it's starting to have something like this. I think that you should do is go image mode and going 16 bit channel. So right now you are working with a lot more information. The important thing when you're doing this is right before you want to save. You have too much all the layers into one visible and their while keeping all the others and change back to a bit just to save the image. Now I'm seeing a lot of this bit of darkness over here, so I'm going into this brightness layer with black and capacity of temper sand and then fixing this it's very important to have. Let's go 5% again. The importance to have, uh, the these transitions. Okay, right, So now we have prepared image for adding a bit of atmosphere. Now let's click on the base, and we want to select the leaves off the tree, but we have to select them from the layer or with the image with the foot. Go select color range and have simple colors with this. Click on one of the leaves and then click on the plus to add some more tones. Because the leaves are off, different talents you can see is going to be. We select a lot more, but it's no problem. Hit. Okay, click on the top layer and now create a hue and saturation. And, as you can see, hold down the old key and click on the mass just to see the mask. We have this mask so this hue and saturation will affect the tree but also affect some other areas that I don't want to have in affected. So with the brush and a passivity of home percent, so click zero on the keyboard. Just add some black in this on these areas that I don't want Teoh effect with my hue and saturation. It's very easy to to take these areas away from from the federal good. Okay, I want to emphasize on Lee the tree. Let's take this black. Okay, so it's enough you don't in this area. It's not that big of a deal. It's near the tree, so it doesn't create any problem. This top it at the Okay, so and now let's clear Old and click again on the mask and now click on the hue and saturation and just dragged saturation up. Now list. Let me show something. They found dragging up the saturation on increasing the saturation but also the brightness of the leaves. If you want to increase on Lee, the saturation change this from normal, the blending model of the layer from normal toe color or saturation. Take a look at the leaves when I'm selecting. Saturation, I see has a slight change because in normal you affect also the brightness. Now I like the effect of off normal blending mold where where I also increase the saturation. So it's OK now where I will have a federal filter adjustment layer because I won the atmosphere, the fog to be kind of like a blue fox. So let's select the cooling filter 82. But the problem now is that this land effects the tree and the these other trees have a folk in the entire image. Now what I want to do is to first remove the blue from the lower part off the on image. And for that I will use ingredient to and have, um, this lenient Grady and selected and have it from black to white. So I will drag from this area, can learn from this area to this hair. So as you can see right now, it has effect on Lee on the upper part of the federal. Now, the problem is that it also effects the tree I can add on another Maso. The thing I'm going to do is create a group from here. This is the icon creating your group. I will take this foot of filter and drag it on top of the group. And now you see, it's shifted a little to the right, so it's in its inside the group hoping closing look and I will add a mask to the group and right now I will add the mask off that hue saturation there that affected the tree. But the only thing that I have to do seem worth now to add the master copy demands very easily. You go on the hue saturation, click on the mask, hold down old and click and drag the mask where you want to come. Okay, As I told you, I need to invert it because right now with this mask, it tells that this group is visible on Lee on the tree. So click on the mask and hit control I. So now that we have inverted the mask, um, the trees not longer affected by this blue. Let's close this group. It's important to have the group close because otherwise, when I'm if it's open, when I'm creating, for example of curves, you see it places the curves inside, and you need to continuously drag it outside of just delete this. Close the group. Now, as I'm looking at the Contras between these two is too big because of the blue. You see this in much more deeper contract, so let's quick on hue and saturation and let's bring saturation who've been down and that that should be enough now listing. Take a look at the in the lower popped over here. Let's add another hue and saturation and let's use this icon over here. Click on it and then just click somewhere on the ground and look at thes bars. You see, you already have some color selected, and let's just increase the saturation and change the hue more towards red. You see, I already I also changed the leaves off the tree. I don't want that I would use the Grady in and from for this situation, I'm dragging the Grady in from up to down, and this way I'm adding black in the upper part so it doesn't take effect over there. Okay, let's just add another brightness contrast. I had some more contrast of the image, and now let's just look at the original image now to see the original image, hold down old and click on this, I I can over here to have only this original image and then click again, holding down old to have the final version of the image, which you see, it's a lot more, um, powerful dandy Original one. So I hope you enjoy this tutorial and let's move to the next 3. 03 Dreams of Light: Okay, so we are back and we're having this intimate now in terms off settings. This one is a little bit different. And where we have 0.5 seconds and you see, we have a little of the movement off the leaves. Now, I don't have any problem with having that movement in my my fed. Oh, but if I wanted, if I would have wanted Teoh freeze this motion than the options would be t opened the aperture Well, maybe F eight. And with that, I'm getting 1/2 half of this time 0.25 seconds, and then I will have to increase the eyes. So now I don't want to increase the ice. So I just wanted to have I saw 100. I really liked the movement, so I think it's no problem now. The way I'm thinking about this federal in terms of editing is once it had light to this area, some more Teoh increase the contrast to add a little bit off visibility here. I don't want to have this these trees that dark, but I want to keep this feeling off darkness and because of that, I want to have this separation between planes. I want to have this four run area with darker tones. And then the more the more brighter area. Oh, that. And this way I will have a separation, and I will add that to the photo. So again, let's remove chromatic aberration and enable profile correction. And what I want to do now is because the history Graham is shifted a lot to the left and against you. Over here, the blue Channel is almost glued to the lab. This means that if, um, I'm trying to post questions this further too much. It is a possibility to have a lot of noise in this area. So there's just drop the contrast of the Fed. Oh, and instead of raising the shadows, I will just go with the exposure and increase exposure of the entire image. Let's take a look at hung percent. It's very important to form this habit of looking at 100%. What is actually is happening in your fellow. When you're dragging these sliders, I think everything is okay. So the history Graham, I will place it somewhere on here with the Contras down there will drag highlights of it down. So let's just go with fit and view. And now open the image hit F on your keyboard. Okay, so right now, if I'm looking at the image, it has enough light come from this area. The thing that I have to do is take care of these separation between planes. So I would add another brightness and contrast and increase the contrast of the image. This is the overall contract that I want to have and then add a novel, brightness and contrast and take the blood was older, way down and contrast all the way up. Now it be and use a brush. But just like before we need a place from where the sun is So control are and drag these two guidelines somewhere wrong here, I think had son a lot A little further weight Hit the on your keyboard because I want to move this somewhere around here. And I could be again and within a pastie of 10% or impressing one on the keyboard just as I did in the previous tutorial. So click ones over here, then hold on shift. Let's hit tab and get rid of everything and have only this. So click over here. Hold on shift and the old weap to here. Keep holding shift. Don't release the shift and there's just come back and forth, back and forth. I just want to have this feeling off raise getting inside the forest, just moving from one side to another. Okay, so this is enough Hit V drag. The guidelines on top of the rulers control art made the rules go away. His tab to have all the tools again controlled zero to see entire image and with the brush selected bill down with a passion for past your 5%. So on my cue ball, I'm hitting quickly. 05 I'm just adding some more light in this area. I'm not getting too much light because I going to have this cereal in the dark. Now I would hit acts and switch between colors, and I'm bringing back some of the darkness. I want to have a limit of darkness in this tree or here and emphasize the shadows. Okay, this one, I think it's enough with shadows. I don't know. I need to much, but I will hit acts again on my keyboard, and I think I will emphasize the lights of more on this tree over here and on this these bushes, it's almost like painting when your sculpting the the entire feeling off the image with light and darkness. I think this is the best way to to describe it, look at the image, analyze it and try to feel how the light is entering the forest. It helps to have a tablet to do this. I'm not doing this using a mouse. I think it's strange when for me to use the mouse with this, but I know a lot of photographers that come to my war shops that don't like using tablets. I think it's just a matter of getting used to. And when you are used to the tablet, then you will not want to give that up because it it's so natural. It's like drawing like painting and it's very natural to use it. So it's gonna be I'm adding a little bit off light in this area. Wow, trying to keep the leaves down in terms of brightness. But okay, so I'm having a really in ized separation between planes right now, So when I wanted to is play a little bit. We're the color off this area. So let's see if What? What should we do? We can add some. We can add some blue into the shadows. The shadows are mostly in this area over here, and this way we can create a much better separation between these two areas. But we can also have blue to the highlights. This area. So let's just, uh it was just had blue to this darker area over here. So, um, the easiest way to do this is had a color balance and to select shadows and add a bit off blue again. If you're keeping this layer on normal as blending mode, you see, the image kind of gets darker. You have to ask yourself if you like that, because let's click on normal. If you go on color, you see, see that the image changes if you like. The also the brightness. If you leave layers on normal, they will affect the hue in the saturation. Uh, and also the brightness. In this case, I really like the effect. So just going to go a little bit further and what I'm gonna do now because I don't like to have this magenta feel over here. I will come with a hue saturation Click on this one, selecting more blues, okay and de saturate somewhere around here. So the image was like this. It was a separation, but right now the separation is really powerful. Now I think it's too much if I'm taking it. I look at history and see history is almost almost glued to the left. I don't like having the history that much to the left. So what I'm going to do that is to I had to raise the shadows. So I'm going to click on the bedroom letter and make a selection. Go to select color range and from select Click Land Shadows. Now these are the shadow that are going to be selected. Let's play with the range a little bit because I don't want to have the elements in the background over here. I only wanted element in this area and the fuzziness. It's just a slight blower. Okay, okay, click on the top layer. And now let's create a Branson contrast, and this led will be created with the mask that matches that. So let's let's could hold on old click on the mass to see the math. I don't want to affect this. And over here, So with the brush a passage he of 100% and brush black just paint these areas. I don't want Teoh a fact them They're simple because they look OK the way okay. And that was just bringing the brightness up. Let's go with control. Want to look at If everything is bring the contrast down, as I told you in the previous for the now you see over here we have some problems so we can go that much. So probably somewhere around here would be enough now I could have merged all these layers into one there and open the filter, uh, camera roll on top of that layer. And the fact that shattered just dragged the shadows. But it would effect also the shadows from these areas. That's why I prefer to do in a photo shop. Now I have ah, some dark blue in this area. There's just add another brightness and contrast opened the history Graham, who has just bring the brightness off the entire image up and increase the contrast. Okay, so right now the separation is there. Let's see if we can add a little more A little more emphasis to this tree. So just add another brightness and contrast. Look at the tree. Well, I'm driving the brightens up. Select the mask and invert the mask control, I okay, now with the brush we need to paint with white. So we're hitting acts on the keyboard to change between these two colors. You can use also this I can over here, So we need to paint with wide, and I will have a capacity of the brush. Well here off. 5% hit 05 very fast on your keyboard. And now I'm simply dragging 40 cool lines over here. But you need to pay extra. Careful. You're adding an area off brightness. You need to can like fathering. This is you assumed right now. So I'm painting these this area. Let's go with control. One with a hump percent. Yeah, everything is OK. Let's quickly. So you see, I'm having a little of light just piece by piece, adding some light. It's like it's like over here be another hole in the forest and I'm getting light into the forest from that hole hitting the tree. I think I think right now it looks looks really, really good. Let's take a look at the original image and the final one. A lot more contrast. Hit one on the keyboard, having a pass ity of 10%. Just have a little bit more like this. Okay, so now we have an image with a lot more contrast. I think it looks a lot better because, as you can see, the original image and the final in there I know have a clear separation between these two plans. 4. 04 The Yellow Guardian: And now let's move to the third image. I guess it's just one tree or folks point. It's just one tree, and we will have to emphasize this one tree the light is going to see. It's kind of like coming from above and, uh, the history Graham, and it almost occupies the entire space over here, which is not, um, it's not necessarily okay. And the simple reason for that is because now, whenever I met, in contrast to this image, it's kind of take the system well, very easily, too far to the left or too far to the right. I will removed from my cabaret shinin neighbor profile correction, and I will just try Teoh, remove some of the contrast and take their the exposure of the image down a little bit. Increase the details in shadows. Let's take a look at 100% right here, pulling down space bar to and with the mouse about button click. I'm just dragging this to take a look. A day means I'll have to get rid of this s I don't understand people painting on trees, but this it is what it is. So let's now click open image and hit half on the keyboard. Okay, so right now duplicated this layer control J use this part healing brush toe control one to go hung percent in. Just paint on that. And it goes away. Controlled zero right now, too, friend ins have fed up. So let's head the night Little just a simple there. No, impending with black. Let's hit acts the paint with wide zero on the keyboard to have the capacity of the brush hung percent and left bracket to make the breast smaller. I just want to explain it about what is going to happen. So I'm gonna have this area of the image. It's gonna be a lot brighter. And the difference in Brighton between this era and the other heirs will make your I, uh, pay close attention to this area. So because there will be a difference. And Brian was between these areas, I'm gonna have your attention. I also have a little bit off light on the trail, and as the trail ends in this area again, I have a look. Darkness to push your attention in this, uh, this head over here always just deliver this layer and open hissed. A gram has been didn't before and add brightness and contrast adjustment just in start increasing the bright colors. I think this is enough and increased contrast of the image. Let's see how much we can push the brightness. No, it's it's pretty hot. So let's kill somewhere wrong here. I don't want to lose details in the back. Still want to see them? Okay, And now let's add another brightness and contrast and take the brightness all the way down . Increase the contrast. Eso just like before. This is my way of doing dodging book. Um, I'm right clicking on the brush to check that the hardness is 0%. I want a soft brush left and right brackets to increase them size of the brush and because of mask is why I have to paint with black. So I have to switch between colors. Either you click here oil you hit acts on your keyboard, so why don't want to do now? It's have again a fixed point from Wendell Light should shine. So let's going You who loves control minus on your keyboard and hold on the space bar to have it like this. So, um the sun will be coming somewhere from around here. Oh, yeah, something. Something like this. Okay, so right now capacity. 10%. I'm hitting one like you bought with the borough selected you. In order to see this, you have to have your Brussels control plus. And now, just as before, I'm clicking once. That's a bigger but I'm clicking, wants here. And after that, I'm holding down shift and I quick here here and I don't I don't release the shift bottom on keeping the shift, but, um clicked and I'm creating this filling off light in this area. After I'm creating this, I will show you exactly what this holding off the shift does. Just wanted to have a clear mind off what is actually happening. Okay, I'm going also outside that area. Just a tiny bit, OK, now, let's get rid of these Is against you, counsel. Like then you have to have the move toe activate it is so quick and dragged them on top of the ruler. Have they gone? Control are to me the ruler disappear. Now, let's just show you I will create an empty layer from here and activate the brush with the brush clean zero to have a past year off 1% and left brought to have its smaller Now click anywhere, have a dot, hold on shift and click in another place. It creates a straight line hold. Keep holding shift on Don't release the shift button and just clearly so it creates lines. So when I'm moving from one place, Teoh, I'm creating something like this. Okay, what what I did with the messed Well, let's let's debate this. Let's click on the mask and let's continue to at it. Let's have a bigger brush. A passivity of 5%. Okay, let's introduce a little bit of more light on the trail over here and in the lower parts. Okay, let's also go here. Let's take a look at the entire image control minus and let's look at him. It's more as I told you in the first tutorial, When you're doing this, you seem the differences and, um, different areas of the federal, so it helps a lot, too. Equalized areas don't have. You don't want to have contrast to big now hit acts on your keyword and shift. Now you paint with white, so this means you're adding some of the darkness back into the shot. And with a low past year off 05 or 5% it's just I had so more contrast to these trees by making them darker. So by making them darker, I, um, multiple defining the structure off the federal so right now is you can see I'm having these four trees and your your attention is kind of like trapped between these two. These trees activated his to him again because I want to add another brightness contrast, and I'm going to invert the mask control I. So I painted wide capacity off 10%. What had a lot more brightness to this area of the tree? Okay, now it's time to deal with the leaves of the tree hit control one on your keyboard toe look 100% click on the base layer because I want to make a selection from the That's why you need to click on the actual day, go with select and color range, and now let's have simple colors and let's pick, pick some of the cars off on the treat and then hit plus two. Grab some mawr tones because he did are a lot of tones over here. Now, if you don't like some of the areas, click minus and just click up here on the other You don't want Okay? Hit. Okay, now we have a selection. Yes, there are other elements selected, but they didn't know what get rid of them. So click on the top layer to create a layered on top of this, and we will create a hue and saturation one. Now all to hold on old and click on the mask to see the math. And now, with breast selected, we need to brush the brush to be black. Right now it's white. So switch between these two having a pass ity of home percent. So click zero on your keyboard. No, let's paint black. The heavy is that I don't want to be affected by the hue and saturation because it's not gonna It's not going to be a landed effects. The brightness. Yeah, you can get away by having these rough painting paintings in the mask. If you if with this layer you would have attacked the brightness of the scene, then you have to be more careful. It would be visible but with the huge saturation, it's it's not going to be visible. Okay, so we had three but three leads. It is just click on this. I couldn't have returned. And now let's just drag exposure. Let's go control. Want to see what exactly is happening over here? Go 200%. I don't wanna have details lost, but if you can see it, hold the damage. Holds no one's had a cubs. And with this, uh, it's open. Also, the hissed a gram and just drag a little bit off the curve up and then place a point somewhere on here and drag it down. Okay, so right now the image it's starting Teoh to form, Let's go control one and look at what is happening. For example, in this area, you see, there's a little some problems, so let's get into image moment and go work in 16 beats channel. Okay, now we want Teoh. Add a little more emphasis to the lower part of the image, so I would add hyun saturation and click on this icon and select lower part of the image, drag the saturation and change the huge just a tiny bit. Now I want to make sure this effect this effects on Lee. This here So with the Grady int map track from up to down, and this way the mask becomes black in the upper part, and this way you have only the lower area affected. Now, another thing that I want to do is add some a little bit of blue atmosphere to see how it looks, although this contrast I think it's it's really nice. It has a really beautiful feeling to it, but I just want to make a quick test and decide later. So let's just add a a foot of filter. We're going filled 82. Now with this mask, I don't want to take effect in the lower part of the image. So Grady, in map from black to white, I'm dragging and also linear radiant to be selected on dragging from down to up. I know it takes effect on Lee in the upper part, but it also effects the leaves off the tree, so I will create a group, take this photo filter and click and drag it into the group. Now it shifts a little bit to the right, so it's into the group, click on the group and create the mask. This is the the for that Now. I had this hue and saturation there where I affected only leaves. Hold on old click on the mask and drag it on the new mask off the group. Now, because of this mask, this group is going to be visible on Lee on the leaves right now. So if we invert this mask control, I let's let's first all and click on the Mass to see the mask. Now, if I hit control, I I involved the mask. So right now the the effect off this that is on Lee in the elements off the force that are not related to the leaves off the tree and wind, then the lower part. Let's just it evaluate. Let's click on the photo filter. Let's take. I think I will have just a tiger bit of you. See this? This If I'm taking the density to 1% I couldn't see kind of like a yellow with stent over here, so I will just add just a little bit. I think I like it the way it is right now. Just click on the original image. Yeah, I think I think it's I think this looks really good to wait. It is right now